The Fruit Market Gallery, 45 Market Street, Edinburgh, EH1 1DF

Jim Lambie

Jim Lambie, The Fruitmarket Gallery (2014)

Jim Lambie’s new exhibition at the Fruitmarket Gallery, Edinburgh is gutsy and exuberant with the artist’s iconic striped floor-piece setting the tempo. Review by Laura Campbell

Further reading +

Sprüth Magers London, 7A Grafton Street, London, W1S 4EJ

Louise Lawler: No Drones

Installation view, Louise Lawler, 'No Drones', Sprüth Magers London (2014)

Lawler emphasizes the aspects of viewing art we continually overlook as she makes pointed observations about the art world system, its complex rules and its institutional practices. Review by Aindrea Emelife

Further reading +

Studio Voltaire, 1a Nelson’s Row, London, SW4 7JR

Judith Bernstein: Rising

Judith Bernstein 'Rising' 2014. A Studio Voltaire Commission, courtesy of the artist and The Box, Los Angeles. Photo: Andy Keate

On the far wall of Studio Voltaire’s main exhibition space hangs ‘Birth of the Universe’ (2014), a large-scale painting by the American artist Judith Bernstein (b.1942). Blood red labia stretch open to reveal a fluorescent yellow cavity and a bright blue spiral. Two white penises ejaculate into the orifice, and it is out of this colourful admixture that the entire universe is born.

Further reading +

South London Gallery, 65-67 Peckham Road, London, SE5 8UH

Last Seen Entering the Biltmore

Guy de Cointet, 'Tell Me' (1980)

‘Last Seen Entering the Biltmore' is a show that explores the possibilities and interferences created by piercing through that imaginary wall that separates the stage from the backstage. Review by Francesca Cavallo.

Further reading +

Nikolaj Kunsthal, Copenhagen Contemporary Art Centre, Nikolaj Plads 10, 1067 Copenhagen, Denmark

Shahzia Sikander: Parallax

Parallax installation view

Shahzia Sikander transforms miniatures into detailed, living, digitally animated stories.

Further reading +

The Drawing Centre, 35 Wooster Street, New York, NY, 10013

The Intuitionists

Platform

Considering the role of the collection, the database and the aggregate in drawing.

Further reading +

Hannah Barry Gallery, 4 Holly Grove, Peckham, London SE15 5DF

A Strong Affinity

Hydraulic Power Pack Sledge, A Strong Affinity, Installation view at Hannah Barry (2014)

‘A Strong Affinity’ resonates somewhere between a science-fiction novel and an industrial blizzard. Review by William Davie

Further reading +

Eastside Projects, 86 Heath Mill Lane, Birmingham B9 4AR

Grace Schwindt: ‘Only a Free Individual Can Create a Free Society’

Grace Schwindt: 'Only a Free Individual Can Create a Free Society'

In The Agony of Power Baudrillard asserts that the demise of the radical left in 1968 can be situated in a double refusal to be dominated or to dominate through power structures. The desire for autonomy from the bonding of a life in the production of capital, fractured into a bricolage of ideologies that saw the traditional modes of resistance transmute into the spectacle of violent acts by political agencies such as the Red Army Faction in Western Germany.

Further reading +

Kunstraum, Gorsuch Street, London, E2 8HD

Zin Taylor: The Tangential Zigzag

Installation view, Kunstraum, London

For Zin Taylor’s first solo show in the UK the Canadian-born Belgium-based artist has produced a new series of works on paper that incorporate thick marker pen lines, clippings from the artist’s archives, naïve pencil sketches and cuts of cured snakeskin. Review by Beth Bramich.

Further reading +

firstsite, Lewis Gardens, High Street, Colchester, Essex, CO1 1JH

Bruce McLean: Sculpture, Painting, Photography, Film

Ludgate Head, 1992, installation view, firstsite, 2014

The exhibition 'Sculpture, Painting, Photography, Film' draws together a wealth of archival material surrounding Bruce McLean’s early conceptual works and experiments with sculpture. Review by Elizabeth Holdsworth.

Further reading +